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Gotowe bibliografie tematyczne / National Art Gallery

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Gotowa bibliografia na temat „National Art Gallery”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "National Art Gallery"

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Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.

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Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017

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Lydon, Andrea. "The right space: 150 years of housing a national gallery's library and archive collection." Art Libraries Journal 43, no. 1 (December 8, 2017): 24–30. http://dx.doi.org/10.1017/alj.2017.44.

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The National Gallery of Ireland is the country's premier art institution. It houses the nation's collection of fine art in addition to a collection of library and archive material relating to the visual arts. The library and archive collections play an invaluable role supporting the work of the gallery and are regularly consulted by external researchers. Surprisingly, for more than a century there was no dedicated library space allocated to this collection. This article explores the development of the collection and the space it has occupied within the Gallery over the last 150 years, chronicl

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Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, Ramadhani Isna Putri, L. Edhi Prasetya, Widya Nur Intan, Muhammad Wira Abi, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (December 28, 2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.

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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a

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Cannon, Catríona. "The National Gallery of Ireland Library." Art Libraries Journal 25, no. 3 (2000): 21–24. http://dx.doi.org/10.1017/s030747220001172x.

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The National Gallery of Ireland Library has recently re-opened to internal and external readers after a number of years. The concentration so far has been on reader services, while a major revision of the cataloguing and classification procedures is being undertaken. New projects to organise the Gallery’s Archives and make them more accessible for research, and to open a sponsored Centre for the Study of Irish Art in 2002-3, show the Library’s revived interest in reaching its potential users.

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Prior, Nick. "Edinburgh, Romanticism and the National Gallery of Scotland." Urban History 22, no. 2 (August 1995): 205–15. http://dx.doi.org/10.1017/s096392680000047x.

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An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund tradition of art patronage in Scotland, the modernization of Edinburgh's art field in the early nineteenth century depended on the activities of civic elites. The Scottish model of art museum development resembled the later American model more than it did the earlier French one. What was particular to Edinburgh, though, was a strong form of Romanticism in the early nineteenth century. The romantic landscape trope inde

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Honoris, Robby, and Andalucia . "Design of North Sumatera Paradise Gallery in Medan City (Metaphor Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 91–99. http://dx.doi.org/10.32734/ijau.v1i1.266.

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The purpose of this Art Gallery designing is for giving space for the local artist to place and promote their art products. It’s because Medan city has not decent gallery according to the national standard. The surplus of this art gallery out of showing fine art is giving room experience impression to support fine art showcase. The theme of the building is a metaphor of water ripple to represent Babura river, so the art installation to the building is using water concept that gives unique aspect to building and can be art identity of Medan city. This gallery building is hoped to fulfill galler

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Horman, Mary M. "National Gallery of Art ‐ The Collection0047National Gallery of Art. National Gallery of Art ‐ The Collection. 1997 to date; updated weekly. http://www.nga.gov/collection/collect.htm No charge." Electronic Resources Review 4, no. 5 (April 2000): 51. http://dx.doi.org/10.1108/err.2000.4.5.51.47.

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Hava, Jarmila. "The Library at the National Gallery of Zimbabwe." Art Libraries Journal 11, no. 2 (1986): 40–43. http://dx.doi.org/10.1017/s0307472200004636.

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The Library of the National Gallery of Zimbabwe dates from the 1950s. Its acquisition policies mirror those of the Gallery itself, which since Independence in 1980 have concentrated on traditional culture and contemporary art in Zimbabwe; the library also includes a collection of books on architecture. Due to insufficient funds and lack of foreign currency, Library acquisitions are heavily dependent on donations. A slide collection includes specially photographed slides of Zimbabwean art. The Library is open to the public and is well used by students but not by local artists who are often cont

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Glinsman, L., and D. Barbour. "Science and art converge at the National Gallery of Art." JOM 49, no. 1 (January 1997): 14–17. http://dx.doi.org/10.1007/bf02914620.

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Walsh-Piper, Kathleen, and Ellyn Berk. "Teacher Programs at the National Gallery of Art." Journal of Museum Education 19, no. 3 (September 1994): 19–21. http://dx.doi.org/10.1080/10598650.1994.11510276.

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Rozprawy doktorskie na temat "National Art Gallery"

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Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.

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Pezzini, Barbara. "Making a market for art : Agnews and the National Gallery, 1855-1928." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/making-a-market-for-art-agnews-and-the-national-gallery-18551928(4f296d6c-997a-4eab-95ca-bace7b9c3596).html.

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The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for

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Hahn, Catherine Neville. "The political house of art : the South African National Gallery, 1930-2009." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19314/.

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The thesis analyses modes of representation in the South African National Gallery (SANG) between 1930 and 2009. Built in 1930, for the larger part of its history SANG was situated in a white state that disenfranchised the black populace. Whiteness, as citizenship, was normalised and glorified in the state’s museums. Analysis of evidence collected from the archive, décor, art collection, exhibitions, attendance of walking tours and semi-structured interviews with staff demonstrates that SANG’s historic practice does not fit neatly within the dominant theoretical understanding of the art museum,

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Barben, Marc Walter. "What does it mean to be a 'national' gallery when the notions of 'nation' transform radically?: An analysis of the Iziko South African National Gallery's practices and policies in historical contexts." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13650.

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Includes bibliographical references.<br>While much has been written on the European display of non - western art and artefact collected from their colonies in Africa, less has been documented about the European settler arts institutions, like the South African National Gallery (SANG), whose distant location away from the imperial centre initially presented particular challenges. In South Africa, since colonialism, these challenges have been expanded by settler nationalisms, a racially oppressive regime, a liberation movement, and a relatively peaceful transition to a democracy. In its f

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Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.

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This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examin

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Doucette, Valerie Anne. "The art museum in code: display strategies of the National Gallery of Canada." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97220.

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This thesis explores the ways in which the art museum as a powerful cultural medium shapes the public understanding of artworks and how this work is affected by digital media when the museum displays art online. In an analysis of the National Gallery of Canada (NGC) I focus on how the artwork is encountered and understood in physical and digital contexts through the examination of three modes of museum practice: memory, information, and narrative. I compare each mode's manifestation in the physical museum space to its digital translation, revealing that the NGC largely reproduces its objective

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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.

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Lilla, Qanita. ""The advancement of art" : policy and practice at the South African National Gallery, 1940-1962." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/18426.

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Includes bibliographical references (pages 125-138).<br>This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the m

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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections wa

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James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.

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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections wa

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Książki na temat "National Art Gallery"

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Ayesha, Taslim, ed. National Art Gallery collection. Islamabad: Pakistan National Council of the Arts, 2008.

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Powell, Earl A. National Gallery of Art. Paris: Société française de promotion artistique, 2000.

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(Pakistan), National Art Gallery. National Art Gallery collection. Islamabad: Pakistan National Council of the Arts, 2008.

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(Pakistan), National Art Gallery. National Art Gallery collection. Islamabad: Pakistan National Council of the Arts, 2007.

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Marjorie, Hussain, ed. National Art Gallery collection. [Islamabad]: Pakistan National Council of the Arts, 2007.

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Walker, John. National Gallery of Art, Washington. New York: Abradale Press, 1995.

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Library, National Gallery of Art (U S. ). National Gallery of Art Library. Washington, D.C. (Fourth and Constitution Ave., N.W., Washington 20565): The Library, 1993.

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Walker, John. National Gallery of Art, Washington. New York: Abradale Press/H.N. Abrams, 1995.

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Raymond, Keaveney, ed. National Gallery of Ireland. London: Scala Books, 1990.

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Raymond, Keaveney, ed. National Gallery of Ireland. London: Scala Books, 1998.

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Części książek na temat "National Art Gallery"

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Ruiz, Ana Baeza. "Curatorial Experiments at the National Gallery After the Second World War." In Making Art History in Europe After 1945, 67–82. 1. | New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351187596-5.

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Parsons, Margaret, and Marsha Gordon. "On the history (and future) of art documentaries and the film program at the National Gallery of Art." In Documenting The Visual Arts, 205–20. London ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315123301-14.

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"of National Gallery of." In Islamic Art Collections, 16–17. Routledge, 2013. http://dx.doi.org/10.4324/9780203036907-10.

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Whitehead, Christopher. "Debating the National Gallery." In The Public Art Museum in Nineteenth Century Britain, 125–50. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-6.

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Whitehead, Christopher. "Refiguring the National Gallery." In The Public Art Museum in Nineteenth Century Britain, 151–76. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-7.

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"Sir Hugh Lane and The National Gallery." In Art and Letters, edited by B. C. Bloomfield, 3–8. Routledge, 2019. http://dx.doi.org/10.4324/9781315034133-2.

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Whitehead, Christopher. "The Enlarged National Gallery in 1876." In The Public Art Museum in Nineteenth Century Britain, 238–45. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-10.

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Whitehead, Christopher. "Negotiating the Construction of the National Gallery." In The Public Art Museum in Nineteenth Century Britain, 177–204. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-8.

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"The William Brumfield Collection, National Gallery of Art." In Journeys through the Russian Empire, 33–36. Duke University Press, 2020. http://dx.doi.org/10.1215/9781478007463-005.

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Smith, Alison. "Watts and the National Gallery of British Art." In Representations of G. F. Watts, 153–68. Routledge, 2019. http://dx.doi.org/10.4324/9780429259906-9.

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Streszczenia konferencji na temat "National Art Gallery"

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Qi, Fei, and Yi Chen. "The Study of Configuration Analysis in Art Gallery based on Space Syntax mmComparison of Washington national gallery and the Shanghai art gallery." In 2015 4th International Conference on Sustainable Energy and Environmental Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icseee-15.2016.207.

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Braden, Paul, and Kaitlyn Gainer. "Application of the Shape Memory Effect to Restore Smoothness." In ASME 2015 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/smasis2015-8827.

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A major worldwide industry is the display and preservation of historical and rare documents, paintings, canvases, tapestries and other works of art. Many private collectors and museums pay large amounts, such as the $23 million for the U.S. National Gallery and $8 million for the U.S. National Archives. There is an even greater demand for many consumers who desire an affordable way to safely maintain their images in top condition for viewing and enjoyment. Another industry where the smoothness of the paper documents is important is in the shipping and delivery business. Here, many shipments ar

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Iribarne, Jorge. "The essential purpose of any Urban Project is to define Public Space." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6233.

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In that aspect, buildings role, no matter their architectural qualities, is to shape that void and give it character. If one asks people about their remembrances of cities they have visited, they usually mention places and the activities that took place there. Architecture, great or bad is the referente of Architects. Only some monuments –Eiffel Tower or Sidney´s Opera- which act as the city´s image are worth recalling. The failure of CIAM´s urbanism was not its lack of quality, even vition, as some of Le Corbusier designs clearly demostrate, but its disregard of public space, merely a left ov

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Vuga, Martina. "Skin matters. Conservation-restoration treatment of a 16th Century polychrome wooden sculpture." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13509.

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This paper presents results of the preliminary examination and conservation-restoration treatment of polychrome wooden sculpture, Madonna and Child, dated around 1520 from the National Gallery of Slovenia. Extensive areas of paint loss, discoloration of old retouches and darkened coating on gildings disrupted the sculpture’s visual unity and balance. Overpaints have progressively and significantly changed its appearance. Prior to the intervention we conducted detailed technical examination. Treatment included surface cleaning and partial removal of materials. Decisions, methods, and materials

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Štěpánek, Pavel. "Tasting the milk of celestial knowledge. Note about the rhetoric of the portrayal of the sacred in Alonso Cano’s painting The Lactation of St. Bernard (1653–1657) from the National Gallery in Prague." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-20.

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This is an attempt of interpretation of a picture that draws from mystical tradition. It is about the comprehension of a topic in a painting by the Spanish artist Alonso Cano (1601–1667, Granada), from the National Gallery in Prague (O 14 690) Lactatio S. Bernardi – presenting the miracle of lactation, in which the Virgin Mary is squirting milk from her breast into the mouth of St. Bernard of Clairvaux (a historically very famous saint and major representative of the Cistercian Order). Traces of iconography lead up to the Coptic Church, where the typology of the milking Virgin was probably fir

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Raporty organizacyjne na temat "National Art Gallery"

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Raymond, Kara, Laura Palacios, and Evan Gwilliam. Status of climate and water resources at Big Bend National Park: Water year 2019. Edited by Tani Hubbard. National Park Service, September 2022. http://dx.doi.org/10.36967/2294267.

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Climate and hydrology are major drivers of ecosystem structure and function, particularly in arid and semi-arid ecosystems. Understanding changes in climate, groundwater, streamflow, and water quality is central to assessing the condition of park resources. This report combines data collected on climate, groundwater, and springs at Big Bend National Park (NP) to provide an integrated look at climate and water conditions during water year (WY) 2019 (October 2018–September 2019). However, this report does not address the Rio Grande or its tributaries. Annual precipitation was higher than normal

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our future

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Boyle, Maxwell, and Elizabeth Rico. Terrestrial vegetation monitoring at Timucuan Ecological and Historic Preserve: 2019 data summary—Version 2.0. National Park Service, February 2022. http://dx.doi.org/10.36967/nrds-2290196.

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The Southeast Coast Network (SECN) conducts long-term terrestrial vegetation monitoring as part of the nationwide Inventory and Monitoring Program of the National Park Service (NPS). The vegetation community vital sign is one of the primary-tier resources identified by SECN park managers, and it is currently conducted on 15 network parks (DeVivo et al. 2008). Monitoring plants and their associated communities over time allows for targeted understanding of ecosystems within the SECN geography, which provides managers information about the degree of change within their parks’ natural vegetation.

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